Matteo Carcassi Study in D

Pamela is back with a great lesson on a Matteo Carcassi study in the key of D. Here you will be able to apply the slurring techniques you have learned in previous lessons with an in depth look at Matteo Carcassi's study. This lesson is fun and hands on, so tune up and get ready to dive in!

Carcassi also wrote a very popular guitar method book entitled Metodo de Guitarra. The modern edition of this book is printed in Spanish with a corresponding English translation. The publication information is provided below.

Carcassi's "Study in D" is played in 3/8 time. This time signature may be new to many of you. The top number in a time signature always indicates the number of beats in each measure. The bottom number indicates which type of note receives the beat. A breakdown of how to interpret the lower number is provided below.

Thus, in 3/8 time, there are three beats in each measure, and the eighth note is counted as the beat.

Compound Meters aka "Compound Signatures"

3/8 is an example of a "compound meter." Compound meters are time signatures in which eighth notes are placed in groupings of three. Some common examples are 3/8, 6/8, 12/8, and 9/8. A slight accent is placed on the first eighth note in each group.

Rhythmic Motif

This piece is held together by a repeating rhythmic motif. This motif consists of an eighth note followed by a set of six sextuplets. Then, three eighth notes are plucked in an "oom pah pah" waltz type rhythm.

Slurs are played within the sextuplet groupings. An ascending slur (hammer-on) is immediately followed by a descending slur (pull-off). Thus, only the first sextuplet in each group of three is plucked with the right hand.

Practice Tip

Isolate and drill each individual repetition of the rhythmic motif at a very slow tempo. In other words, drill measures 1 and 2. Then, repeat the process with measures 3 and 4. Continue to work through the piece in this manner. Make sure that all slurs are played accurately and with a powerful tone. Practicing Pamela's slur exercises from lesson 7 will definitely help in this department.

Dynamics / Changes in Tone

Since the piece is quite simple from a rhythmic perspective, changes in tonal color can really help bring the piece to life. Watch Pamela's performance example in the first scene and make a note of where she alters the tone. Also, make a note of any changes in dynamics. You may find it helpful to print out the score and write in these indications.

Right Hand Fingering

Pamela breaks down the right hand component of the piece at 01:48 in the lesson video. She prefers to use P for all of the bass notes. The I and M fingers are used in conjunction with one another to pluck all of the double stops that occur in the melody line. The only exception to this rule occurs when a double stop is not played on two adjacent strings (i.e. the first and third strings). Pamela uses fingers I and A to pluck these double stops.

Balance

This time around, the melody is found in the upper voice. The accompaniment is played in the lower voice with the thumb. Make sure that you do not overpower the melody by playing with aggressive thumb strokes!

Musical Road Signs

Do not ignore the repeats that are written into the score! If you fail to repeat these sections, you are leaving out half of the piece from your performance.

Secondary Dominant Chords

Numerous "secondary dominant chords" are used within the piece. A secondary dominant chord momentarily tonicizes a chord in a progression by preceding it with the chord that functions as its dominant. Typically, this chord is played as some sort of a dominant seventh voicing. For example, the V chord, A, is frequently tonicized in the piece. This is accomplished by preceding it with an E7 chord. E7 functions as the dominant V7 chord in the key of A. The IV and V chords are the most frequently tonicized chords in a major key. Consequently, the chords that function as dominant to these chords are the most commonly used secondary dominant chords.

In terms of Roman Numerals, the chord that functions as dominant to the V chord is labeled as V7/V (pronounced "dominant of five"). The chord that functions as dominant to the IV chord is written as V7/IV ("dominant of four"). The chord that is being tonicized is always written to the right of the slash.

Function of Secondary Dominant Chords

Secondary dominant chords add color to a piece through the use of chromaticism (notes outside of the key signature. "Chromatic" is derived from the Greek word "chroma," meaning color. The inclusion of chromaticism also creates smooth voice leading tension from one chord to the next.

There are two types of chromaticism: short term and long term. Short term chromaticism, as exemplified in this lesson, is used to add additional color within a diatonic framework. Long term chromaticism is used to establish a change to a new key center. In future lessons, you will learn how secondary dominant chords can be used for this purpose.

Harmony / Structure

The firs section of the piece begins in the home key of D and cadences on the V chord, A. Then, the next section begins in the dominant key of A. Since this is an example of a short term key change, the actual key signature next to the clef symbol is not altered. Towards the second half of the second section, the harmony returns to the home key of D major to create a logical conclusion.

Supplemental materials very good. Even though I read music, it helps to have the interactive supplement with the tab. Then providing the pdf tops it off. I can put it on my iPad and keep working on it. Carcassi takes time for most of us but it is worth the effort. What does the GuitarPlayer Pro version provide?

I really enjoyed learning this Carcassi Etude again Opus 60, No. 10. I used it as a test in one of my classical guitar classes in music school. I really enjoyed re-learning it, and going over it again. There are some mistakes in Bar 4, Bar 7, and couple of other places. However, I thank you very much for placing this up on Jam Play. Further, I enjoyed hearing your ideas on the fingering of the right hand and the left hand. Thank you.

So I can no longer study these lessons until I learn to read music? I was enjoying it up to this point. I can play all the tunes so far by ear but need the tab for more complex things. Im not going to learn to read anytime soon. Im disappointed.

For others trying to learn this piece:
1) Pamela suggests learning to read music. I found that trying to write out the tabs myself was excellent for learning to read the high notes and learn where they are on the fretboard.
2) As noted in previous comments, my tabs for measure 4 didn't match how Pamela plays it. It turns out that the score in the supplemental content is wrong in measure 4. And also has minor errors in measures 1, 10, 35, and 36.
3) I know that from looking at the TEFview score available here:
http://www.freetabs.org/classical.htm
(although the timing values in that score are not right).
And the tab shows a different fingering for some measures.
4) and also by comparing the tab notation here:
http://www.guitaretab.com/m/matteo-carcassi/288927.html
which does match how Pamela plays it, and also gives the fingering.

update: I now have the score in the book Pamela references. Measure 36 is correct in the Supplemental Content; it is measure 39 which is not. Also there is a mistake in the Supplemental Content score in measure 7.

I would agree with Karakw, this is too challenging for a beginner. I am at the intermediate stage and it's great for my level. I would recommend that ezedim and karakw go through Christopher Parkenings books 1 and 2. When you are about halfway through book 2 then come back and start Pamela's lessons. Pamela is doing a wonderful job here, however I do believe she is jumping ahead too fast in her lessons. This particular Carcassi study should have been moved much farther ahead in her lessons. I teach classical guitar although my main genre in classic rock.

Measure #4 is notated incorrectly and needs to be repaired. It took me about ten minutes to figure out how I was going to finger that in the 7th position, after watching Pamela I discovered that the notation is incorrect. If I find any other mistakes I will post it. I am enjoying the lesson though, nice work Pamela!

Pamela, I will really like to play this song. I cannot read notation yet but would like to learn. Is it possible to include tablature here so that we can play the etude while we steadily learn to read notations? You did not play the entire song in your lecture so it is hard to follow.

Classical Guitar with Pamela Goldsmith

The origins of the classical guitar date back to the fifteenth century. The vihuela, lute, and baroque guitar are the early predecessors of the guitar. With its origins reaching deep into the past, the classical guitar repertoire spans over five hundred years worth of material. Pamela Goldsmith explains the techniques necessary to mastering this timeless art form.

Pamela Goldsmith once again grants us insight in our quest to learn classical style guitar. In this lesson she explains how to play the classic piece "Malaguena." Lesson topics include right hand patterns,...

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Pamela is back with a great lesson on a Matteo Carcassi study in the key of D. Here you will be able to apply the slurring techniques you have learned in previous lessons with an in depth look at Matteo...

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Length: 18:51Difficulty: 3.5Members Only

About Pamela GoldsmithView Full Biography
"A native of New England, Pamela Goldsmith was first introduced to
classical guitar by Joe Zuccala in Massachusetts. His inspiration and
guidance prepared her for her future as a student and teacher. Since
studying with Zuccala, Pamela has worked with Keith Crook at the
University of Maine, Jeff Ashton and Bryan Johanson at Portland State
University and Scott Kritzer in Portland Oregon. Pamela has performed in
master classes and continues to perform solo concerts in the Northwest.

Pamela received her Master's Degree in Classical Guitar Performance from
Portland State University and her Bachelor's Degree in classical guitar
studies from the University of Maine in Orono. She has served as a
graduate assistant teacher at Portland State University in downtown
Portland, Oregon, and is an adjunct faculty member at Linfield College
(McMinnville, OR) as well as a private guitar instructor. Pamela is
passionate about the history and vitality of the pieces in her repertoire.

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